JUNIOR WATSON: IF I HAD A GENIE
(HEART AND SOUL RECORDS)

--by Gary Tate

Junior Watson releases about one album every 10 years. Given his staggering guitar prowess, impeccable taste and feel, and seamless virtuosity, those slim pickings are difficult to fathom. As the dependable "go-to guy" for others (Rod Piazza, Lynwood Slim, William Clarke), his solo career often takes a backseat. If his "comeback" CD If I Had A Genie is any guide, his "cult status only" days will soon be gone with the wind. This is one of the most exciting international releases to come along in years. It's totally impossible to ignore, so etch it into your memory like your birthdate. One of the most essential roots voices out there today, Watson's influences include a melting pot of diverse string benders: a roll call of 40's/ 50's players who created the riffs and solos that saturated thousands of R&B/Rock 'n' Roll singles: Rene Hall, Tiny Grimes, Bill Jennings, Mickey Baker, Oscar Moore, Guitar Slim, Eddie Taylor, Earl Hooker. The sounds permeating If I Had A Genie are of vintage-quality, a nostalgic time capsule throbbing with non-stop motion, and a "harkening back" to jukebox-crazed times. Everything on IIHAG clicks with unerring vibrancy, whether Watson happens to be flying on one of his patented fluid solos or just doing spot-on rhythmic work. It crackles with creativity-but within the context of feel-good flakiness. So, lots of rumba-saturated ditties to twitch your glutes to: Call Everybody Sweetheart, the chicano-inflected Two Tacos, the Johnny Otis-penned title track. Lonesome Old Feeling is pure Jump Blues Heaven, specifically that section reserved for the likes of Joe Turner, Roy Brown, and Wynonie Harris. Heavy man heavy! Check out such rockin' shufflers like Early In The Morning, Pleasure Is All Mine, and Amos Milburn's all-time favorite House Party. Fun times and party treats! Limb flexing instrumentals abound, such as the bouncy Flappin' (showcasing the boffo sax chops of Baron Shul), and the ultra-tasty yet calorie-conscious Spring-Roll. After Hours is given dripping with nostalgic authenticity. Majestic! Something's Wrong--originally done by New Orleans' legend Sugar Boy Crawford--is reprised, with Watson perfectly capturing its twisted humor. JW is a highly under-rated singer too, but that's to be expected given his guitar brilliance. It's You is the solitary slow-burner, but fear not as Watson takes full masterful command. Strongest Woman is obviously indebted to Johnny Otis, though it also veers stylistically into warm Caribbean waters. That thin dividing line between engaging silliness and genius has never been so apparent. If I Had A Genie is brilliant. Now if someone out there could only convince Junior to increase his output to perhaps an album each year or two, then things would really be looking up.

ORDERING DETAILS:
www.heartandsoulrecords.com
www.amazon.com 

DANNY MARKS: BIG TOWN BOY

--by Gary Tate

Big Town Boy revisits Toronto's Yonge street strip when R&B formed the musical bedrock. Ace guitarist Marks--also host of Blues show BLUZ-FM---has simulated a smile-inducing time capsule: a revival of musical memories not dissimilar from the nostalgia rush experienced when leafing through your high school yearbook. It was a vibrant era that he salutes, stretching from 1958 to the early seventies. Local deejays (on stations CHUM, CKFH, and CKEY) helped spread the message. Anyone 40 years and up and who grew up within a 100-mile radius of Toronto should fondly recognize many of these 14 selections. The Toronto Sound was destined to have a major impact internationally, witness The Band, Steppenwolf, David Clayton Thomas (Blood Sweat & Tears), Edward Bear, and so many others. Danny Marks was vital to that scene, and most satisfyingly, he's assembled a tight little band to pay homage to these blasts from the past, and has captured the pure and simple fun that rippled through these classics. Ronnie Hawkins' crucial Mary Lou (1958) set the table, but Charlena (1963) became the rite of passage for any dance band and Marks' version perfectly captures its essence. Little Jackie Shane's Any Other Way was another groundbreaker (what a contagious hook!) that put Toronto on the R&B map. Big Town Boy by Shirley Matthews galloped to a thundering beat with a wall-of-sound reminiscent of Phil Spector, while Marks & pals fascinate by relying on a basic off-the-floor treatment. Splendid! Love-itis is a knockout rocker hearkening back to Ray Kenner of Mandala fame on vocals, and Danny does a righteous cover of this Toronto anthem. Got a hold on me yeah! America's Skip & Flip did It Was I--a sock hop ballad to slow things down--and Tommy Graham & the Big Town Boys re-interpreted this ditty for Canadians. As with some other tracks, it's a cover of a cover of a cover. Post 1964, the impact of the British Invasion somewhat altered the Toronto Sound, an example here being Danny's cranked-up version of Spencer Davis' Keep On Running (E.G. Smith & the Power did it back then). Jack London, an ex-Brit, originally performed If You Don't Want My Love, backed up by the Sparrows who later became John Kay & Steppenwolf. There's much more, including Danny's heartfelt rendition of Dusty Springfield's I Only Want To Be With You. Completing the retro circle is a reprise of that major worldwide hit You Me And Mexico. Danny tips his sombrero to his former Edward Bear band mates: Larry Evoy and Paul Weldon. Ole! Thanks to Danny Marks for keeping the torch lit, and for reminding everyone why this Big Town became a mover and shaker in the Big World.

 ORDERING DETAILS:
www.dannym.com
www.iridescentmusic.ca

GUITAR SLIM: SUFFERIN' MIND
(THE SPECIALTY LEGENDARY SERIES)
GUITAR SLIM: THE ATCO SESSIONS
(ATLANTIC RECORDS)

--by Gary Tate

Guitar Slim was born Eddie Jones in 1926 in Greenwood Ms, and he managed to cram a significant amount of intensely powerful music into a life cut far too short by hard living. Such were his talents that, aside from his timeless musical contributions, many regard his true legacy as being the most compelling performer to ever venture onto a stage. He single-handedly extended the boundaries of showmanship. Before, stage choreography, weird contortions, and even overwrought mimicry, were huge drawing cards for such top performers as Louis Jordan, T-Bone Walker, and Howlin' Wolf. But then Guitar Slim came along and took everything to a higher level, beyond even the wild and bizarre. He loved to wear outlandishly colored suits with matching shoes and co-coordinated hair. The most spectacular aspect of his act was when he walking throughout the audience, trailed by a 350-foot guitar cord carried by his assistant, while never missing a note. And when extreme wanderlust beckoned, he'd even stroll outside and wade into traffic, bringing it to a halt. He'd also take rides on people's shoulders, guitar always in hand. This was a level of flamboyance beyond the normal theatrics of that or any other era, and one can't overstate the profound influence Guitar Slim would have on the stage antics of future performers such as Buddy Guy, Jimi Hendrix, Stevie Ray Vaughan, and Guitar Shorty. In his autobiography, Buddy Guy told of an epiphany-like experience upon viewing Guitar Slim: "When I saw him, I'd made up my mind. I wanted to play like B.B. (King), but act like Guitar Slim." Music at its core is performance art, and therefore Guitar Slim was The Master Craftsman. For his performance genius alone Guitar Slim belongs in the Blues Hall Of Fame, but the music he gave us is every bit as compelling. As a young guitarist, he was heavily influenced by slide legend Robert Nighthawk, but his true love for the instrument was based on the sounds he heard from Texas, specifically T-Bone Walker and Clarence "Gatemouth" Brown. After Slim had perfected his wild stage act, he took up residence in New Orleans in 1950 and began exploring newer guitar sounds that featured lots of distortion-well over a decade before Hendrix started his experimentation. Slim signed with Specialty in 1953, and had a massive hit with The Things I Used To Do, which quickly became a standard of the basic Blues repertoire. It was recorded with the Lloyd Lambert band with which Slim often performed, and it featured Ray Charles as guest on piano. Slim soon embarked on a national tour, and accomplished something no other artist had ever done: He sold out New York's Apollo Theatre for a full week. For another two years he continued to put out very strong sides on Specialty, like Story Of My Life and Sufferin' Mind. Everlasting classics! They were typified by raw, at-the-edge vocals recalling tales of desperate times, family reveries, and overwhelming loneliness, reciprocated by heart-tugging flurries of strident reverb-drenched guitar. A partial sampling of other magnificent sides from his Specialty years include I Done Got Over It, Letter To My Girlfriend (aka Prison Blues), Quicksand, and Certainly All. After Specialty, he signed with Atco, and charted with four more releases, including It Hurts To Love Someone and Down Through The Years. Sufferin' Mind on the Specialty Legendary Series is a must-have for any serious Blues collector. The Atco sides should also be sought out. By the late fifties, Slim's full-fisted life style was inflicting a dreadful toll. Earl King recalled that he was drinking "a pint of gin and chasing it with a fifth of black port every day". His weakened body simply didn't stand a chance from a severe case of bronchial pneumonia, and he passed away in February 1959. How do we fully measure the extent of Guitar Slim's greatness-- especially since he left us so early? Ask those who knew him, such as Albert Collins, Jimi Hendrix, Chuck Berry, Earl King, and ZZ Top's Billy Gibbons, among countless others, and they all put him on the same level as B.B. King and Ray Charles.

ORDERING DETAILS:
www.amazon.com

BILL DOGGETT: 28 BIG ONES (KING)
BILL DOGGETT: ALL HIS HITS (KING)

--by Gary Tate

Honky Tonk started off as an impromptu musical conversation, but soon turned into one that would yield such intoxicating grooves that those patented riffs and responses would eventually become incorporated into the basic vocabulary of any respectable R&B, Blues, Soul, or half-aware Rock instrumentalist. Although Bill Doggett sensed that Honky Tonk, with its tantalizing groove was a special crowd pleaser, he never imagined that it would put him on the map forever. Committed to wax on June 16, 1956, Honky Tonk became a gigantic #1 R&B hit and those ascendant white teenagers also locked firmly into that irresistible vibe. Pre-1956, Bill Doggett had amassed an enviable resume as a versatile musician, juggling roles as arranger, sideman, composer, organist, publisher, studio reliable, and bandleader. Bill Doggett was born 1916 in Philadelphia, and his poise and talent were apparent at an early age. At 22 he led his own band, and in 1939 he did his first recordings with Jimmy Mundy. When the Lucky Millinder band was reformed for touring, Doggett got aboard as both pianist and arranger, being involved in eight releases, including All Aboard and Little Old Lady From Baltimore. Doggett also wrote "Shout Sister Shout" for Sister Rosetta Tharpe, a featured vocalist with Millinder. By 1942 he'd hooked up with the Ink Spots, playing a major role as pianist/arranger on five of their biggest hits--- including "Cow Cow Boogie", and "I'm Making Believe", collaborations with Ella Fitzgerald who Doggett would later renew significant acquaintance with. After leaving the Ink Spots, Doggett recorded and toured with Johnny Otis, Helen Hume, Wynonie Harris, and Illinois Jacquet, among others. By 1949, he'd joined Louis Jordan (replacing Wild Bill Davis), becoming a featured performer on such Jordan classics as Saturday Night Fish Fry and Blue Light Boogie. Doggett was intrigued by the emerging organ sound, but questioned if its reach should go beyond sacred portals. That changed after leaving Jordan and doing sessions backing up Ella on organ in 1951-52. It was the success of those sides (Smooth Sailing, Rough Ridin', Air Mail Special) that convinced Doggett that an organ-based, as opposed to piano-based combo, was the wave of the future. Between 1952 and 1956 the Bill Doggett combo released a dozen instrumental singles on the King label. About half fell into the mildly swinging groove reflective of his years with Millinder and Jordan, and the other half were in the slower blues style associated with the Ink Spots and Fitzgerald. In 1955, Doggett found two ingredients that would elevate matters to a higher level, starting with the inclusion of guitarist Billy Butler who possessed an intimate knowledge of bluesy fills and figures and, like Doggett, had a rhythmic conception that came from the swing era. The other crucial move was adding Clifford Scott (Lionel Hampton, Roy Milton, Amos Milburn) who possessed a wide-ranging versatility on alto and tenor sax. No other combo could do so many things as well, and as interestingly, Doggett never soloed on Honky Tonk (Butler had part 1, Scott part 2). There were lots of cool numbers after Honky Tonk, including Slow Walk and Hold, but none could possibly have the same long-term impact. Mind you, the boisterous Rambunctious (a re-working of a Millinder tune) has come rather close. An especially enticing original was Leaps and Bounds. Groove city! Doggett's bag was Soulful Jazz with a Bluesy feel and it was a marvelous extrapolation, later explored by such luminaries as Jimmy Smith, Jimmy McGriff, Jack McDuff, Boogaloo Jo Jones, and several thousand others. Among Doggett's subsequent releases, the 1964 album "Wow!" originally released on ABC-Paramount and now re-issued on Verve, is a particular standpoint. Many rightfully refer to it as Doggett's masterpiece. By the mid-sixties, Rock 'n' Roll had undergone a radical change. Its eclectic forms of the fifties had become less commercially viable, convincing Bill Doggett to return to his Jazz roots. He became a major draw on the Jazz club and festival circuit. History has shown that Bill Doggett not only gave the world the organ/tenor saxophonist combo, but that he also possessed such discerning taste and unerring instinct for talent, that his name is now synonymous both as an innovator and consummate band leader.

ORDERING DETAILS:
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LARRY WILLIAMS-BAD BOY
(SPECIALTY RECORDS 7002)

--by Gary Tate

What a magnificent--albeit woefully short---18 months they would be. A dynamic and revolutionary sound seemed to be reaching toward the stars in the summertime of 1957. But by the fall of 1958 it all began ebbing away like the full moon, torn asunder by unseen forces lurking behind the scenes. It was the peak of the Rock 'n' Roll era, and for a breathless period it seemed everywhere you ventured, the radio airwaves were filled with infectious teenage anthems rendered by icons like Elvis Presley, Chuck Berry, Little Richard, Buddy Holly, Jerry Lee Lewis, Fats Domino, and Ricky Nelson. But there was one other trailblazer that history has somehow assigned to its amnesia file, and that cat is Larry Williams. Starting with Short Fat Fannie and Bony Moronie, and later continuing with Bad Boy and Dizzy Miss Lizzy, Williams burned up the charts during that same spell, while also filling up dance floors but most importantly by achieving levels of full-tilt energy on a par with that realized by the above anointed Fathers of Rock 'n' Roll. Larry Williams was born 1935 in New Orleans, moved to San Francisco at ten, and in 1954 started touring as piano player for Lloyd Price (Lawdy Miss Clawdy, Stagger Lee). Price, upon returning from a stint in the army in 1956, decided to refocus his career by downsizing the intensity factor. A switch of labels ensued, and Specialty head Art Rupe turned to Williams to fill the void created when Price ditched those wicked R&B sides. In quick order, Williams had a massive hit with Short Fat Fannie, recorded April 1957 and reaching #5 on the Billboard charts in August. Full of spunk and grit, and featuring sputtering sax, references to other hits, and topped off with extra-scintillating vocals, it fit the times like white to rice. Interestingly, Larry had been so certain of its success that right after the recording session he forked out $1140 for a 1952 Cadillac. By Christmas, Williams was featured at New York's Paramount Theatre as part of an Alan Freed extravaganza with Jerry Lee Lewis, Chuck Berry, and the Everlys. Then Williams knocked off another chartbuster, a wild hip shaker about "making-love-under-the-apple-tree" with Bony Moronie. When New Years rolled around, TV viewers could catch Larry doing an afternoon gig on American Bandstand. By early 1958, however, the hits were getting harder to come by; but ironically four lads from Liverpool would decree that those remaining releases of 1958 would prove the most enduring ones of Williams' career. They must have been paying close attention to what Larry Williams was putting down, because when the Beatles broke huge in 1964 they quickly covered those 1958 sides of Dizzy Miss Lizzy, Bad Boy, and Slow Down. All are careening rollicking treasures, featuring bravura sax, pounding piano, and thrilling vocals, but Slow Down is arguably the hippest of the three. Larry's performance of She Said Yeah was no less inspirational, serving as the blueprint for the Rolling Stones' incandescent version in 1965. Larry also did forceful covers of great rockers such as Rockin' Pneumonia And Boogie Woogie Flu (Huey Smith and the Clowns), Little Richard (Heeby-Jeebies), and the Hank Ballard-influenced Hootchy Coo. After a 1959 narcotics bust, Williams and Specialty parted company, followed shortly thereafter by a release of Little School Girl, considered Williams' most bluesy number--an uptempo version of Good Morning Little School Girl. After a couple of sides on Chess, Williams worked as a producer at Okeh before hooking up with Johnny "Guitar" Watson for a series of tours and records. They had a modest hit (Okeh 1967) with a vocal version of Cannonball Adderley's Mercy Mercy Mercy. Larry's final release was an album issued on Fantasy in 1979. On January 2, 1980 Larry Williams was found dead from a gunshot wound to the temple outside his Laurel Canyon CA home. At his funeral, among the musicians paying tribute were Little Richard, Johnny "Guitar" Watson, Bobby Womack, and famed New Orleans' bandleader Paul Gayten. Twenty five years after his death, those Specialty sides with their earthy, innocent, and joyous qualities have never seemed more urgent to a world spinning out of control.

ORDERING DETAILS:
www.amazon.com

MATT MCCABE: BLUES AND JAZZ PIANO ( www.mattmccabepianist.com )

--by Gary Tate

Modern blues tends to be dominated by the electric guitar, so when a nifty release comes along, featuring the most commonly featured instrument from the early parts of the last century, well it’s ample cause to celebrate. The 88’s was the ticket to ride for most cats back then, and in the hands of such modern masters like Matt McCabe, its validity continues as an essential cog for any well-oiled Blues combo. Matt is currently touring with Duke Robillard (along with featured drummer Mark Teixeira), but McCabe has also spent considerable time with Anson Funderburgh and Roomful of Blues. Blues and Jazz Piano was recorded live at Duke’s Mood Room in Rhode Island, a venue named after owner Duke Robillard who lends his guitar throughout, as well as two vocal selections: Goin’ Down Slow and Midnight Hour Blues. Actually, after the first six Blues-based tracks (the halfway point), things shift toward a decidedly straight-up Jazz direction, as McCabe displays his considerable chops on a potent mixture of Swing, Bebop, Latin, and Postbop. The above bases are immaculately executed on: Une Noches Con Francis (Bud Powell), I Remember You (Johnny Mercer), Barbados (Charlie Parker), and Azure Te (Bud Powell). And there’s lots of other highly rhythmic delights too, including McCabe’s own Martina’s Time and especially Nablatnias, which features brother Al McCabe, a winningly persuasive musician who blows honey tenor sax. Carl Queforth from Roomful Of Blues is featured on trombone. It practically goes without saying that the sense of interplay is both impeccable and flowing throughout. There are a couple of fine boogies too, including Cow Cow Boogie, plus Matt’s own Dog Finger Boogie which is a pure solo excursion. I’m not a piano maven, so McCabe helpfully lists out some of the legendary types whose influence can be heard in his eclectic and well-rounded playing: Meade Lux Lewis, Little Brother Montgomery, Otis Spann, Big Maceo Merriwether, Roosevelt Sykes, Bud Powell, Phineas Newborn (B.B. King’s original piano player), Cedar Walton, and Hampton Hawes. Matt McCabe must have absorbed a wonderful grab bag of ideas from these titans, because I had a difficult time differentiating between teacher and student on Blues And Jazz Piano.

ORDERING DETAILS:
www.mattmccabepianist.com

PAUL REDDICK: VILLANELLE (NORTHERNBLUES)

--by Gary Tate

Villanelle by Paul Reddick marks his first solo release, although the reliably steady hand of producer Colin Linden is always nearby, conferring immaculate string shadings and further enhancing Reddick's astute observations on the human condition through his uncompromising artistry. 'Rattlebag'--which coincidentally featured a change in billing to Paul Reddick and the Sidemen-- was suffused with a more acoustic focus than previous Sidemen releases. It's rightfully been compared with the backporch, common man variety of folk Blues chronicled extensively by Alan Lomax, prior to World War Two. Reddick's Blues is intended for the thinking man; he's often fully engaged in literate and often obscure allusions. Such poets as William Blake and Kenneth Rexroth have influenced his work, while Paul's a huge admirer of such legends as Sleepy John Estes and Fred McDowell. Villanelle's every tune is imbued with a catchy melody or assertive rhythmic line, allowing the most casual the listener to instinctively breathe in the meaning of it all. 'Rattlebag' earned unreserved acclaim for Paul Reddick, but 'Villanelle' deserves even more hosannas. Little beyond 2-4 instruments per track are availed to their maximum potential, lending an aura of simplicity to profound musings. Reddick's rich inner world is fully revealed, and the results are enchanting. The best advice in approaching Villanelle's 15 tracks and 65 minutes is to exercise maximum patience. Set aside 2 worthwhile hours to soak up its overall flow and direction (it's like a very good read). Determining which tracks give extra pleasure is no easy task. Simply put, there's not an unwanted note or hint of pretension to impede full enjoyment. Two of the first 3 tracks (Winter Birds, Villanelle) are firmly ensconced in the old-timey country tradition, and Reddick's voice-forlorn, desolate, and moving--has never been more effective. Luck In Love is another gorgeous offering, its drone groove accompanied by Reddick's full-bodied harp. During the 15 tracks, I counted a mere handful of straight-ahead acoustic Blues with those like Big Not Small, Waves, and Burning Fuse packing an emotional wallop--but especially resonant is Hook's In The Water. There's so much more to praise, but space is insufficient. However, Round This Time Of Year, with its whispery and delicate phrasings is deserving of special bestowal--probably as compelling a piece as anything Reddick's ever done. The subsequent track Five Silver Dollars is every bit as moving. Twin beauties! First there was Harry Manx (West Eats Meet), then Michael Jerome Browne (w/ Twin Rivers String Band), and now to finalize 2004's triangle, behold the joys of Villanelle. Anyone who feels that the best in contemporary acoustic Blues and Roots isn't emerging from Canada just isn't paying attention. And that's the bottom line!

ORDERING DETAILS:
http://www.northernblues.com

HARRY MANX: WEST EATS MEET
(DOG MY CAT RECORDS)

--by Gary Tate

It's been little more than four years since Harry Manx was a barely noticed performer at Toronto's Harborfront Blues Festival. Today, his identifiable and distinctive hybrid of East Indian music and traditional Blues has given him a richly deserved rabid following in several countries---especially Canada and Australia. His latest release 'West Eats Meet' continues the absorbingly gentle melding of continents and cultures. Whereas Jubilee--his previous release on NorthernBlues--was a collaborative effort with Toronto string wizard Kevin Breit, Manx appears here in mainly solo instrumental mode (mohan veena, banjo, lap steel, harmonica, acoustic guitar), except for the occasional keyboards from Wynn Gogol and tabla from Niel Golden. Vocally, enchanting background harmonies provided by talented voices, aptly called the Heavenly Lights, lend this enterprise an even more pronounced spiritual quality than expected. Manx possesses such impeccable taste, and he can draw upon such a kaleidoscope of exotic and intriguing sounds with weaving fingertips, that only some diminution in his compositional skills could ever diminish his powers. But from the evidence here, his song writing is stronger than ever. Tough & Tender is an especially moving number, a melodically intriguing blend of Folk and Gospel, thanks to the mixture of Manx's heartfelt vocals and Emily Braden's evocative background oohs and aahs. Achingly poignant lyrics too! The Ways Of Love is another sublime entry, more Indian in motif, yet Harry's magic even extends to vocals that conjure up Hindu-inflected chants. Hypnotic! One can't omit mention of Make Way For The Living with its haunting folk poetry set to lilting rhythms, while Shadow Of The Whip is compulsively listenable. Sonny Boy 2's Help Me is an example of Manx's delicate interpretative skills, but Sittin' On Top Of The World is the cover that lingers longest, like intoxicating incense. A luminous arrangement too! Along the way, there are a couple of memorable instrumentals: the Hindu-infused Forgive and Remember and Hector's Song. It's easy to underestimate Harry's vocal strengths, but whatever he may lack in range is more than compensated by a delivery that is so very persuasive, at times reminiscent of both Bob Dylan and Van Morrison. There's always been so much to exult over on every Manx release, but West Eats Meet reveals something extra-special. A superb accomplishment!

ORDERING DETAILS:
www.dogmycatrecords.ca

LOUIS PRIMA: CAPITOL COLLECTOR SERIES

--by Gary Tate

Louis Prima had a staggering impact on the genres of Jazz, Pop, and Rock 'n' Roll, both as a fine singer/instrumentalist and accomplished composer, but especially as a dominant performer. Born 1910 in New Orleans' fabled Storyville district, Prima dropped out of high school to pursue music, influenced by sounds of locals like King Oliver and Louis Armstrong. A well-respected trumpeter, Prima formed Jazz combos to play Crescent City's clubs and theatres, before venturing to New York in 1934. A long-term gig with his New Orleans Gang at a 52nd street club signified the start of Prima's difficult climb to the top, a topsy-turvy ride that would rattle his nerves. Things finally came up aces when he played his final hand in Las Vegas. Lost Wages has dashed many hopes, but Prima's Follies, with its madcap goings-on, always braced by ace musicians who could swing like nobody's business, would be welcomed there like invincible court jesters. Soon, it seemed everyone was exulting Prima also chalked up several hits on the Brunswick label, like The Lady In Red and In A Little Gypsy Tearoom, but his immortality was guaranteed with Sing Sing Sing, which became an instant classic when Benny Goodman recorded. In 1948 Prima wrote A Sunday Kind Of Love, an enduring ballad that's been recorded by so many singers, including Jo Stafford, Etta James, and Fran Warren.

It's assumed that Prima's act experienced a turnaround only when he brought in a delicately-featured young singer from Virginia named (Dorothy) Keely Smith, whose stone-faced demeanor, delicately-phrased stylings, and prim manners contrasted emphatically with Prima's bellowing vocals, putty visage, and super-extroverted shenanigans. This was a wonderful pairing, but by 1954 Da Preem was having trouble getting gigs. Dispirited even further by alimony owed three ex-wives, he summoned New Orleans homeboy and tenor saxophonist Sam Butera, along with his Witnesses, to make a pilgrimage to Vegas. This was the final piece of the proverbial puzzle. When Louis wasn't badgering Keely like a lovesick schoolboy, he'd be urging the frenetic Butera to make his sax squeal like a moose in heat. Butera rose to the challenge! It was pure adrenalin-fueled delirium, as audiences went bonkers over this non-stop pandemonium. Louis and Keely put out a series of hit records on Capitol Records, most being studio interpretations of their actual offbeat stage performances, such as That Old Black Magic, Just A Gigolo/I Ain't Got Nobody, and Pennies From Heaven. Many were intended for more mature audiences, who liked to hear some of the elegant old mixed in with a lot of the raucous new. Yet when Louis and Sam went ballistic on volcanic upheavals like Jump Jive and Wail (recently covered by Brian Setzer), Five Months Two Weeks Two Days, they achieved the same level of kinetic overdrive as did Little Richard or Jerry Lee Lewis. Check out the Wildest series on Capitol Records, and marvel at the energy and electricity unleashed by Louis, Sam, and Keely. Three sticks 'o' dynamite!

Hollywood would beckon again: Hey Boy, Hey Girl relied on a script loosely based on their rise to the top, while 1961's Twist All Night capitalized on the Twist craze, but sans Keely from whom Da Preem had just separated. In 1964, Prima found another performing partner and final wife in Gia Maione, and continued performing until 1975, when he was diagnosed with an inoperable brain tumor. He slipped into a coma and passed away in 1978. During a bounteous 50-year career, Louis Prima's ultra-joyous style never went out of fashion. He possessed a special magnetism that will never be equaled.

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www.amazon.com